The Goddess, Immodesty Blaize, talks bonkbusters, Ambition, waistlines and Texas.

Divertida Devotchka

1. You’ve never performed in Texas, correct? What are your expectations for your March 20th show in Dallas?

I am really looking forward to coming. The promoter has been incredibly welcoming. Generally I have no expectations or pre-judgments whenever I perform somewhere new; I just give everything to my audience wherever I am!

2. What made you choose Dallas for the location of the U.S. premier of your new film, “Burlesque Undressed”?

There’s a great tradition of entertainment in Texas and I’ve been approached a number of times to perform there. The opportunity to combine a USA Film Festival premiere with a performance (which features Dirty Martini and Perle Noire) was a great idea for collaboration.

3. Have you noticed any significant differences between your audiences in the U.S. and those at your shows in the U.K.?

I find the audiences equally appreciative, and with a similar split of around 60% female to 40% male. If anything I would say that perhaps the mainstream American audience is a little more conservative than the European audience.

4. Your first novel “Tease” came out last year, and your second, “Ambition” will be out later this year. Care to tell us a little about the upcoming book? What other literary aspirations do you have?

The upcoming book is called ‘Ambition’ and it’s set in Vegas. It’s another bonkbuster and so you’ll find plenty of sex, scandal, private jets, Alpha males, superheroines, feathers, big hair…I think the best way to sum it up would be Dynasty meets Paul Verhoeven’s ‘Showgirls’. I’m seriously considering setting the third one in Dallas…so I hope I get to come back for some more in depth ‘research’!

5. After seeing you in person, I must say that the most astounding of all your breathtaking features was your waistline. You mention in your film that your waist shrinks to 19 or 20 inches when you’re wearing your corset. Have you always been able to tighten it so severely, or did you train your waist by tight lacing? If so, how long have you been tight lacing?

Thanks! No I don’t train my waist, I have an hourglass shape at rest, I’m 38-26-38 – so it’s not too much of a problem for me to take it down. The key for me to get the extra inch is just to not eat anything bulky the day of a show. I wouldn’t recommend it to anyone as daily wear and I only wear them that tight for short periods, I find it very uncomfortable to go down to 19 inches, as it hurts my back in particular. I once nearly vomited right before a show when I realized I couldn’t actually breathe. But I was stuck in the darn thing, with my shoulder pack strapped on underneath, my crystal underwire garroting my breasts, my headdress clamped in place, a choker tight around my throat, and sweltering under 50 kilos of feathers – I think it was a costume claustrophobic reaction. I’m sure there are many out there who identify!

6. In your film, your milliner Stephen Jones made the comment about your grandiose wardrobe, “It’s a costume. But she always wears it; it never wears her.” Can you think of any scenarios (performances, photo shoots, etc) in which you felt like your costume was “wearing you”? I’ve heard you describe some of your headdresses as “medieval torture devices.” How do you manage to make wearing them look so easy? (and glamorous, at that!)

Some costumes can be painful to wear, but it’s the smile you wear that completely outshines all that discomfort. If you want the exaggerated visual effect that the costume gives then you just find a way to deal with it. You can ‘tame’ the costume – rehearse a lot with it and find out what movement you can and can’t do, and get used to the pain/weight/restriction. Ultimately I think your persona still has to be the star, rather than the rhinestones – so the costume should suit, and work for the personality, not the other way around. I don’t mind the ‘no pain no gain’ thing – if it’s a hell of an effort to get it right then it feels like I’m going the extra mile in my presentation. I somehow feel more dressed to kill if my feet are dying in 6 inch heels. This will get me lynched by feminists, but it’s just how I feel, for me I don’t see the difference between that and the pain I feel after 100 crunches in the gym!

7. Other than the snag you ran into when choosing the name for the Tease Show, have you had any other experiences with censorship?

Not especially. Although occasionally some of my corporate clients ask me to reveal less, and not to remove my bra. (Dior for example). I’ll work closely with my clients to make sure we meet in the middle and achieve something they are 100% comfortable with, whilst still giving a burlesque performance. I’m not sure there’s any point just doing a dance routine in a corset, I wouldn’t try and pass that off as burlesque.

8. I’ve read that you immersed yourself in books as child, and in your film you touch on the topic of the escapist element of burlesque. Are your performances a way for you to bring those childhood fantasies to life? I mean, what little girl wouldn’t want an 8-foot crystal-encrusted red rocking horse or a 6-foot bejeweled telephone?

Actually an element of that horse prop was inspired by memories of the rocking horse my grandfather carved for me when I was tiny! However my shows are very much centered around ‘The Woman’ and I don’t really perform girlie things – no tutus or cupcakes. (At 6’3 in my heels it would look absurd if I came over all porcelain doll.) For me the escapist element came about because I always loved to create fantasy worlds and continued that into my adult life through working in film, and with writing and art. I am a huge fan of ‘camp’ which obviously involves an exaggeration of reality too, I love to include humor, and a sense of ‘ridiculous’, it’s probably just the European eccentricity in me.

9. What upcoming projects are you excited about? What are your goals for the upcoming year?

I tend not to talk too much about future projects in case I jinx them! But I will have some fabulous new performances in store, books….

10. How do you go about obtaining the goal of being perceived as “other-worldly,” as you mention in your film?
 


I used that term I guess as a way of relating to the concept of a ‘glamour’ which is, literally, a spell. With showgirls and actresses in mind for example, in setting up a much more exaggerated version of reality, it presents a vision to an audience that they would never see in everyday life – ie not in their immediate world – otherworldly. That way it becomes a special and memorable experience to watch and it has the capacity to transport the audience away from their every day concerns. However if you think about it, we create this believable idea that we waft around in gowns and rhinestones all day – the irony is that it’s not just an illusion, we really do live like that – because it’s part of the job, it’s vertical integration.

11. How do you think burlesque will change in upcoming years to accommodate the current boom in the industry?


Certainly there are great opportunities for mainstream awareness. Burlesque was always meant to be populist and accessible for both high and low culture, so it’s good to see a return to a mainstream audience base. Although it’s impossible to predict how the genre will evolve. I have no idea! I just hope that in whatever direction it progresses there will continue to be great new ideas, and high quality. If there aren’t then the audiences won’t want to come back for more!

12. When U.S. audiences first saw you, it was at the 2007 Miss Exotic World competition where you took the crown, but what about the first time you ever hit the stage as a burlesque performer? Did you have large scale props, fabulous costumes, and spot-on choreography or was it more “modest”?


Back in ‘98 there were no burlesque clubs in London; I performed on the performance art scene. There wasn’t the stage space for huge props, and there weren’t the audiences back then to pay for $50,000 costumes! However it was a vibrant and creative underground scene, I learned a lot. My first ‘classic’ act was a ‘garden of delights’, with an old velvet chaise lounge covered in fresh flowers, roses, petals, it smelt great but was pricey to do every show. (In retrospect it was a little like Lili St Cyr’s flower-covered throne.) I also experimented with Berliner cabaret influences, some of my acts were more ‘neo’. I surprised an audience once when I entered in immaculate black Victorian men’s riding gear to a baroque, before stripping into a military pony girl in sparkling harnesses to a Goldfrapp heavy electro cover of ‘Yes Sir I can Boogie’ which she sung as a political statement about the 2nd Iraq war. I really enjoyed those early days of experimentation! I guess it allowed my stage persona to develop naturally.

13. You found your burlesque name when the gas man compared you to the comic book character Modesty Blaise. Other than physical characteristics, is there anything else about her character with which you can identify?


Yes she had been a child without a family who had to grow up quick. Other than that, no I’m not a hit woman. I do have a secret penchant for thigh boots though, but as part of uniform or riding….

14. With so many projects, from managing the details of every production from the props & costumes to the talent, to writing and film projects, how do you manage to find time for things like meals and sleep?

Haha, I don’t! I’m writing this at 4 am!

15. What does a typical day look like for you? Is there any sort of routine? 


No routine. But I have to be disciplined, for example I have to get my word counts done when I’m in the middle of a novel, I have a weekly training regime, I live by deadlines for shows etc …. But it’s a funny old job, as you know it’s time consuming to design and create shows, and the performances take me all over the world so I travel a lot. I have a low boredom threshold so it probably suits me best that no two days are the same. 
I try to squeeze in time in my house in France whenever possible so I can take an afternoon out by the pool to gather my thoughts.

16. What do you enjoy when not immersed in burlesque?


Art. Any kind of art or culture. Although not performance necessarily, I do try to have a break from that. I also like to DJ electro, disco, and soul as listening to 40s/50s music every day drives me round the bend occasionally.

17. Just out of curiosity, how many diamonds adorn your diamond merkin?


None, they’re constructed in China by my costume jeweler who uses cut crystals. Shhh, that’s not very other-worldly is it!

Miss Blaize will be performing for the first time in Texas on March 20th at the Lakewood Theater, as well as screening her new film Burlesque Undressed. For more info on the show, please visit our Events page.

Dirty Martini talks Texans, the Moisture Festival, straight men, and about her first Burlesque show.

Interview: Divertida Devotchka

Q: You’re featured in Immodesty Blaize’s documentary “Burlesque Undressed.” What was your reaction when you were informed you’d be included in the project?

Immodesty approached me about participating in her film when I performed in her show the year before at Koko nightclub in London. It was a fabulous show and I love her so I was more than happy to be interviewed for the film at the Burlesque Hall of Fame weekend the following year. Unfortunately the amazing footage from that show wasn’t able to be used in her documentary and I wasn’t able to perform in the show that all of the wonderful footage was pulled from due to my shoot schedule for the French film “Tournee” which will premiere at Cannes in May, but luckily it was used for my documentary Dirty Martini and the New Burlesque which will screen at the Dallas film festival in April. I’m really thrilled that the footage will be used as it was a very professional shoot and I was devastated that I wasn’t able to perform in her show last May because that was even better looking! I hate to have to pass up any opportunity to work with Immodesty.

Q: You’ll be performing in Dallas on March 20th for the U.S. premier of the aforementioned film. Do you think Dallas is ready for Dirty?

Every city I’ve gone to all over the world has been very warm and receptive to my performance and made me feel extremely welcome and I’ve heard that Texans have big hearts so I’m excited to perform there. I was in Austin a couple of years ago and had a great experience there and loved it so I suspect I will feel right at home.

Q: Do you have any other film projects in the works?

I have two short films out currently touring the film festivals, one a short format documentary by Iban del Campo and a beautiful silent film by Steven Dirkes called the Object. I worked with French actor Mathieu Amalric for a film that will premiere this May in Cannes called Tournee and Dirty Martini and the New Burlesque by Gary Beeber will be having its first screening at the Moisture Festival in Seattle March 29th. I’ll be there with Burlesque Undressed on the 23rd as well. It’s been really fun planning Immodesty’s U.S. release along with my film too.

Q: You were recently voted the top fan favorite in the 21st Century Pinups Burlesque Top 50. How does that make you feel? What was your reaction when you heard the news?

I was very surprised to be voted number one and honored because of the company in the top 20 alone! It must have been a very tight vote indeed. I’m a big fan of Catherine D’Lish and Michelle L’Amour and Immodesty and Julie Atlas Muz and Dita and and and….. so you can only imagine how incredible it is to have such wonderful fans to vote me in there too! I feel very lucky indeed.

Q: The Lagerfeld photos in the V Magazine size issue are absolutely out-of-this-world! In a recent interview you mentioned that you didn’t know it was going to be a plus-size issue when you agreed to do it. Had you known that going into it, would you still have agreed to do the shoot? Do you feel like knowing that beforehand would have altered your perception, preparation or behavior going into it?

Well…. It’s not like you tell Karl Lagerfeld and V Magazine you couldn’t possibly come to Paris and shoot at the House of Chanel! It was an incredible experience and I felt shocked that Steven Gan and Steven Chaiken at V thought of me for the editorial. I suppose the whole thing made more sense when I found out a month later that it would be a magazine devoted to all body types. I think it’s a shame that people only think of it as a plus size issue when there are really all types of women represented. Actually, come to think of it there aren’t all types of women in it. People were complaining that I am obese and some of the other models were as well, but I didn’t see anyone over a size 16 in any of the shoots. Considering that the average size for women in the U.S. is currently a size 14, there seems to be a disconnect in the fashion world. Big surprise there. My goal for what I’m doing in burlesque is to have women with womanly features represented properly in today’s hyper-controlled media. I believe that this is a big step for me and my mission statement!

Q: You’ve mentioned that you seek inspiration in drag queens and burlesque legends of the past. Care to elaborate on this?

When I moved to New York City, I went to drag shows at least once a week. I really loved the spirited and improvisational nature of the performances and the fact that they were edgy and interesting. Burlesque never really died in New York. Kitten Natividad performed at Show World in her own burlesque review in the 80’s, Ann Magnusson hosted a Vaudeville night featuring burlesque themed material and Jackie 60 in the early 90’s kept the spirit alive. Drag Queens in NY like International Chrysis and Candice Cayne kept that sexualized uber glamour alive for us and we should all be praying to them like the goddesses they are! They in turn – along with the Something Weird Video reels of old burlesque that I studied before creating my own burlesque routines – inspired me to be the glamour-crazed performer I am today.

Q: You were inspiration in the neo-burlesque revival, especially in New York. What have you noticed about the changes in the neo-burlesque scene in the past ten years? Any patterns you notice in different parts of the country?

Yes, there are patterns but every place is different. I knew that in London and the UK it would become a big retro craze like Carnaby Street in the 60’s. When I performed in Paris for the first time I knew it would grow there too. I saw the very first new burlesque show in Paris’ Bastille district. Kitten on the Keys and I went to see Kisses Cause Trouble there and arrived too late because we were confused by the 24 hour clock. They ended up repeating the entire show just for us and their fans stayed to watch it again as well. That’s the spirit of New Burlesque- that punk rock DIY feeling! Burlesque will always have its high end shows and its more campy and experimental shows and it’s wonderful that there is room for all that self expression. I feel it’s very important for women to express their sexuality in a free and unencumbered way with no edicts from society or more particularly straight men.

Q: How rewarding is it to know that you are such an inspiration to women of all sizes? You’ve remarked before that “the power of possibility” is the most important result of burlesque’s influence on its female audience. Can you talk more about that power?

I would hope that I inspire ladies not to give up on their own power. I’m happy to be a role model for plus-sized ladies, but more than that I feel like the leader of a powerful revolution for women’s rights. What we do in burlesque in the 21st century is so much more than just glamour and beauty and a rhinestone leg show. I believe it also to be an important expression of female culture. People talk about the Amazonian tribe of myth, and well, I think we have that potential as well. Women are very powerful and taking away our power over our own reproduction and sexual expression is akin to castration. It keeps us down and powerless.

Q. Do you think Karl Lagerfeld knew what he was getting into when you first entered the room for your shoot? Was he able to match your energy and pace when trying to capture your images?

Lagerfeld is a very busy glamour puss! He was shooting his own film that day and my shoot was like a little side diversion. He was exhausted by the time he got to me because his day started at 7am. It’s not easy to be the most glamorous man in the world and have your day start at that hour. Our shoot started at 10pm right after the film wrapped for the day, but he gave me as much as I gave him. I adored him and everyone on that set. They treated me with respect and I had a wonderful time.

Q. You’ve said that there were several Coco Chanel look-alikes milling about the area during your shoot due to a movie being filmed. How crazy was that?

Everyone on set thought it was surreal seeing Jane Schmitt dressed as Chanel later in her life. She was the spitting image of Chanel herself! The film is posted to Youtube (and you can see it here http://www.youtube.com/watch?v=e3t_3fIWFlw). I loved the woman who played the Duchess of Windsor, Amanda Harlech; she was someone with an incredible aura. I had never heard of her, but when I met her I knew she was someone I wanted to get to know better. Apparently she is a confidant to Lagerfeld and John Galliano. I just thought she was an amazing person. Jane Schmitt was too and that’s why she was in the photos with me. It wasn’t planned, we just happened to be talking and getting along and Lagerfeld started shooting us. She was a little unsure at first, but I made her feel welcome and told her I wanted her in the photos. I’m glad one of them was chosen for the magazine. I thought it was a fun juxtaposition as I felt Chanel’s spirit pirouetting in her grave while I was posing on her stairwell!

Q. Would you say that in a way your size/shape has been a double-edged sword for you in the industry? I’ve seen remarks from you before that you feel like people always focus on that as opposed to your art/talent being the primary focus as it is with some of your contemporaries.

I do wish that people could not have prejudices, but that’s a tall order. I started performing burlesque routines because I felt that it put my dance training and body type in perspective, but some people can’t go on that journey with me due to their own ideas of what women should be. I hate that should word. I think it’s very dangerous.

Q. What the most fun experience you’ve had since embarking on your burlesque career? What has been your most challenging experience to date?

There are challenges in every career. Mine has been to keep myself motivated to make new work, but luckily I have had life changing experiences seeing what other performers have done within the burlesque medium and it keeps me inspired to make new and different pieces. The best experiences have been traveling and meeting new performers everywhere. The first time I heard backstage chatter about pasties and burlesque costumes with a mid-west accent was a fun and weird experience. Walking into old theaters and feeling the history in those buildings has been amazing too! I’ve met some incredible people because of burlesque, some very famous and some just regular folks and I’m always amazed at people’s generosity and fabulousness!

Dirty Martini will be performing with Perle Noire and the mighty Immodesty Blaize on March 20th at the Lakewood Theater, as well as answering questions about her role in the new film Burlesque Undressed. For more info on the show, please visit our Events page.

Putting a New Spin on the Tradition of Pinup: Meet Girls Drawin Girls

By Bubbles von BonBon

The female form has always been emulated in art with the artists of each period dictating what should be stylized and celebrated in these figures. Traditionally, with the emergence of comic art and design, the predominantly male profession of illustration has often left their female peers to try to reconcile their own artistic desires with the rules already in place regarding what women should look like in a fantasy world of idealized proportions. Essentially, men have been making the rules governing how women should be represented in pinup art.

Animators, artists, and designers have joined forces to form the all female collective Girls Drawin Girls within the visual arts community to change the norms associated with pinup imagery in comics. And they’re showing off their T&A in the process—a girl can get real far these days with Talent and Ambition.  Co-founded by Melody Severns of Simpsons fame and storyboard artist Anne Walker in 2006, Girls Drawin Girls has emerged into pinup art culture through varied channels. Organizing events in southern California to showcase their works and collaborating on themed print pinup books, the group seeks to inform us what the female artistic eye beholds as beauty while supporting each of their members’ pursuit of their place in the art world. Their blog features drawings from members old and new, artist spotlights, and links and information for what the girls do outside of their pinup work. Beyond bettering and advancing their own craft and recognition within the field, Girls Drawin Girls makes an effort to contribute to the betterment of the world around them by offering their works and time to charitable causes such as the Pasadena Chalk Festival and GDG’s recent fundraiser for American Red Cross aid in Haiti. While the girls don’t always receive monetary compensation, they are making a bold statement to the world: female artists hold an equally impactful place in the community of visual art.

The approximately 35 artists come from a wide scope of industries with a heavy concentration in the animation field. They share a common goal, proving the prowess of female artists in a male-dominated profession. And their common tastes run toward a more naturally rendered form—after all, don’t we prefer that even boob jobs look lush and appealing with feminine curves, rather than the bulbous forms sometimes inked by their male counterparts? But here’s another thing cool about these girls: even if they are women united in a common art with a common goal, each artist puts such a unique spin on what they believe is beautiful in the female form that it’s like seeing the women that surround you every day in a whole new light. You start looking for superheroes in the supermarket and wondering if the girl you see at the bar secretly likes to wear gardening gloves and a flirty apron. (See here, here, and here for some of my favorites on their blog.)

Female artists have long struggled to gain the recognition they deserve. From Artemesia Gentileschi gaining entrance as the first female artist into the Accademia di Arte del Disegno in the early Baroque period—painting imagery of strong female Biblical heroines typically ignored by her male peers, to the trivialized and still largely unrecognized “Ink and Paint Girls” of Walt Disney Animation that devoted countless hours to adding the extra sparkle and necessary color to produce the dream-like reality of Disney’s full length feature animation in the 1930s and 40s, women have been forced to fight hard against discrimination from their male colleagues, who were often resistant to accepting their artistic contributions. But you cannot complain about exclusion if you are not willing to do the steps necessary to establish yourself in a field, and like female artists of the past, GDG has joined together to prove that the viewer deserves to encounter a variety of aesthetic interpretations, regardless of gender, race, or any other factor related to the artist. They don’t seek recognition as female artists, but rather just as artists—equal to their male counterparts and with images just as powerfully appealing.

The 1940s and 50s are the periods most frequently associated with pinup art. However, unwilling to pigeonhole the pinup form to one particular decade or look, GDG’s first print volume featured the theme, A Girl in Time, offering diverse visions of the female form through the decades and even into the future. What makes their pinup art stand apart from that which is typically associated with mid-twentieth century drawn female forms is that there has been a power exchange. Now rather than women being merely the object of pinup interpretation, they become the subject of an aesthetic statement as women artists look into their own minds to decide what is attractive and illustrate that which allows their female figures the simultaneous opportunity to be both sexy and powerful. Pinup as a medium becomes an evolving art as female artists bring their own set of ideals to the table of artistic discussion. In a similar stance of taking control of how women are portrayed, the second volume by GDG showcased Once upon a Girl, a reinterpretation of fairytales that once again allows the artists to decide what fantasy should look like. If female viewers are the primary audience for fairytales, then female artists should have the opportunity to dictate the imagery associated with those stories.

Reinterpretation to put a female-positive spin on art forms that have been regarded as objectifying to some feminists is similar to another art form enjoying a great resurgence—burlesque. Just as the reemergence of striptease as a form of performance art has increasingly gained popularity among female fans, pinup art offers an opportunity to female artists to take charge of what they want portrayed as beauty in the public eye. Women enjoy sexual arts; but it’s altogether much more satisfying when they have a say in what is being sold as sexy. By choosing what they want to see in female forms, GDG is providing an entirely new and different canon of imagery for female artists after them. Relying on their pens and paints and laptops to illustrate pinups is more than just creating pretty girls to look at; it’s creating new tenets and options for what should be looked at as pretty.

Female artists may submit their portfolios for review to gain entrance to GDG, and a few of the seasoned artists and animators provide feedback for all submissions even if they are not deemed ready to join. There is a strong dedication here to encourage all artists who are searching for the right inspiration or support.  Once they are part of the collective, the artists make a commitment to spend time creating images that work toward originating or establishing their own particular brand of pinup art.

The girls are based all over the country, with the majority found along the west coast. They communicate mostly through newsletters and emails, and they work together to produce their shows, printed volumes, and the blog. But there is no hard and fast rule of aesthetic that is accepted into GDG. As they set out to diversify the look of female characters in drawn and animated art, they do not discriminate against variety within their own ranks. This acknowledgment that each of the artists is allowed to embrace what she deems as beautiful in the female form frees each of the artists to embrace making a world as they wish to draw it, unrestrained by any rules except those that they form for themselves.

In terms of what they contribute to art and animation society as a whole, Girls Drawin Girls offers a forum to showcase a variety of female artists around a common theme that doesn’t limit the space for individual interpretation. For some there is a tendency toward strong superhero women, the likes of which haven’t found a strong foothold yet in comics and animation.  For others, they turn to classic poses and shapes, yet there is often a tendency to better balance out those more naturalistically drawn bosoms with realistic hips and thighs…even when the small waists still take center stage. In some instances, body shape is not as relevant, the artists deciding instead to bring focus to facial features or a sense of emotion, their pinups evoking more than just a physical presence on the page. GDG gives each of their artists the space and opportunity to present what they see as pinup in its ultimate style. A growing force in the field of pinup art, Girls Drawin Girls is reshaping the lines of illustrative norms, in a way that is proving both fun for its members and highly effective—or addictive—to their fans and viewers.

Do you remember the nights of staying up and watching B Horror Films hosted by Elvira? Well those nights have returned in a litte event we like to call Mistress Macabre’s Dinner Theater.

Join us for a night of hair raising fun as Amber DeVille and Miss Malicious host a screening of Psycho at Excuses Cafe, Presented by Pin Curl Magazine. $6 to get in, $15 gets you dinner and wine with your entry. Your evening includes: a film screening complete with audience participation, horror movie trivia, and prizes galore! This is a night you don’t wanna miss!

Mistress Macabre’s will take place the first Thursday of every month at Excuses. This monthly event kicks of March 4th!

Photos: Ben Britt and Daniel Driensky

Dallas Burlesque Festival, billed “The Sexiest Show in Big D” took place last month at the Historic Texas Theater in Oak Cliff, one of the oldest sections of Dallas. Only two years old, the festival, produced by Elisa Davis, Ginger Valentine, and Black Mariah, grew by leaps and bounds over its inaugural year. While ticket sales for 2010 were about the same as 2009, the festival spanned two nights, which meant all festival goers had the luxury of their own seat. The sold out production grew to host over 50 performers spanning seven states and two countries. The DBF gals also decided to add a featured performer to the line-up, Angie Pontani of New York headlined the festival. Due to the 1000 plus attendees in 2009, the media was ready this year and gave Dallas burlesque lots of attention the week prior to the show.

While Friday night’s showcase was hectic and had some technical setbacks (the wrong music was cued up and took seven minutes of silence to fix, at which point the crowd became agitated, the producers were also thrown a last minute curve ball when the fire marshal was called in due to questions about the venue’s safety, which resulted in ticket holders being turned away.) By Saturday night the Dallas Burlesque Fest crew, in a large part due to stage manager Nick, got all of the kinks ironed out. Saturday night’s performance was nearly flawless, and the energy of the crowd was amazing! Pin Curl was on hand to ask festival attendees to share their experiences. Here’s what we learned:

Jessica Dawn, from the audience perspective:

I arrived Friday night eagerly anticipating the event. Both Pixie and I were excited to attend as audience members instead of working the event, either off or on stage. When I arrived, there was confusion at the door with the different lines you needed to be in and though it was a cold night to be left waiting a half hour for the house to open- it was neat to listen in to those in line with us and what they were anticipating the event. The Friday night showcase was performers bustin’ out the crowd favorites. The show was a little rough with a couple of snags which the emcee, radio personality Jesse- handled with flare and aplomb. I had a friend with me who had never been to a Burlesque event before and she (of course) fell in love.

Saturday night was less line confusion but still a long cold wait for the house to open. A group behind me that had not been to a burlesque event before worried whether or not it would not be worth the wait. I reassured them it would be, but I’m not quite sure they believed me.

I have to say Saturdays showcase was FABULOUS. Many of the acts, routines and performers, were new to me, which was quite a treat. The production on the second night was much tighter and seemed to run very well from the audience perspective. The sound quality this year was a vast improvement from the year before as was the closer attention to crowd control. It was easy to see that the team had learned a lot from last year’s event and applied it skillfully to this one. At the end of the show I did run in to the couple that had stood with me in line and I asked them if they had thought it was worth the wait in the cold. Their faces lit up with smiles, assuring me it had been and they were very excited about next year’s show already.

Jessica Dawn’s favorites? Angie Pontani’s veil routine Friday night, and Roxie Moxie’s Saturday night routine, about which she remarked- a Vodun who kills herself at the end- gotta love it!

Jessie, the festival’s emcee

Terror aside I had a ball at Dallas Burlesque Festival. Emceeing such a huge show over the course of two nights was totally out of my realm of experience…as a dj I am usually hidden in a small studio where it is just me and a mic. It is a totally different animal to be thrust in front of a paying crowd AND have to be entertaining; which is probably why I spent both days TREMBLING and slightly horrified. But once I was in the Dirty Martini/Ellingson inspired Wonder Woman gown it was all right.
 
Highlights for my role include the Cat Butt Gum intro for Athena Fatale, seeing Angie Pontani’s dazzling bongo number live, ohhhhh and Lily Wilde’s explosive dance routine…. that was MOM upside down for sure….WOW! Small wonder she earned a standing O. 

 
Mostly I LOVED the goofball Jigglewatt boys who kept screaming “GOD BLESS AMERICA“ during Fridays show. That was actually helpful because the crowd was kind of rough and unresponsive. They gave me someone to focus on and to play with.  I got them good on Saturday when I wore the lacey see-thru Immodesty Blaize gown with the Swarovski merkin. They were screaming again as I came out on stage so I looked down at my bedazzled merkin and then, stared right at them and said “you know… if my cooch were a rifle it would go BLANG BLANG!” and I blasted a few very pronounced rat-a-tat-tat pelvic thrusts in their direction…the incredulous yet radiant look on their faces was worth its weight in rhinestones. Hilarious. They were cool too because they helped us raise some additional money for Patriot Paws Service Dogs and comedy attempts aside, that was really the passion that fed my participation in this wonderful event.
 
I am eternally grateful to Ginger Valentine, Elisa Davis & Black Mariah for inviting me to be a part of Dallas Burlesque Festival. I would love to do even more on the scene and in any capacity be it as an emcee, pantie wrangler, seat-pointer-to-er, program hander outer, dressing room fixer upper etc… the ENERGY and the art of burlesque really captures the primal essence of what it is to not only be feminine but also to be powerful without having to apologize or downplay it. Burlesque celebrates the female body in ALL of its forms and that is an electrifying combination that is as beautiful as it is intoxicating. I am woman hear me RAWR!

Vivienne Vermuth, performer in Friday night’s showcase and make-up artist Saturday night

At 6 pm on Friday Feb. 5th, the Texas Theater was fairly quiet, except for the low hum of crew bustling about setting up. The only signs that the biggest burlesque event in Dallas was about to happen was a white screen, that had clips of Bettie Page and Tempest Storm rolling. They smiled their Mona Lisa smiles, as if they knew the festival was going to be amazing – and they were right!

Burlesque festivals – To the dancers, it means a chance to hone their skills, strut their stuff, and meet other like minds from other parts of the nation/world. To the audience it means a chance to see a WHOLE LOTTA STRIPPIN’ GOIN’ ON, and a lot of different interpretations of burlesque, from classic to modern and beyond. This was my second run at DBF, having performed in the inaugural fest the year before, and I was determined to leave my big, glittery pawprint! This year I performed in the Friday night showcase with a new sea-inspired routine to Styx’s “Come Sail Away”, complete with glittery Guitar Hero controller, and helped backstage as a makeup stylist alongside LaDonna Hearne and Ruby Redlocks for the fashion show models on Saturday. This allowed me to enjoy the fest from all angles, and meet people on all sides of the show, as well enjoy the entire showcase on Saturday.

Without a doubt, this years’ fest certainly had something for everyone. There were great local artisans showing off their wares . Being in line with offering all side of burlesque, the fest featured pole dancers from The Girls’ Room in Dallas on stage before the shows, and local models took the stage in fashion shows both nights for Electrique Boutique and Jupiter Moon 3 custom corsets. The burlesque acts also varied greatly; some of my favorites included Viva La Muerte’s (Chicago) tribute to Creepshow, Angi B. Lovely’s (Dallas) aerial silks, …The emcee for both nights was the lovely Jessie Jessup, and she kept the audience laughing and cheering on the ladies onstage. The audience was outstanding, and I think Dallas has gained a new legion of burlesque fans!

The biggest and sincerest applause goes out to the entire cast and crew who put this together, and to the three producers (Elisa of the Ruby Revue, Ginger Valentine, and Black Mariah) for putting on this fest and upping the ante with each year. All in all, the show was a rousing success, and I know I walked away from it feeling fantastic! Met some great performers, got to talk to a lot of fans, and generally had a great time! Can’t wait til next year – can you?

Rouby Joule, Performer

I was honored to perform in both the 2009 and 2010 Dallas Burlesque Festivals, and though the 2009 show was a smash hit, I thought this year’s show took it to another level.  I love how the Dallas community of photographers, producers, designers, models and performers comes together to support this festival, and this year it seemed more focus was channeled toward the performances themselves. It was wonderful to have such a seasoned and capable tech crew running sound, lights and stage managing.  The theatre itself was a bit on the chilly side, especially in the dressing rooms, but it’s a historic building after all.  It was a small price to pay for such a beautiful stage. Having some reserved seating for the performers was a big plus, as we learn so much from watching each other, and from feeling the energy of the crowd all around us!  The audience was very enthusiastic and responsive, seeming to gobble up every act like candy.  I got to perform both Friday and Saturday nights, and the show and crowd on both nights was outstanding.  Some new fans even made the trip from Houston for the show.  I must say that having female producers who are also performers gave a rare spirit of camaraderie and heart to the entire event.  We were all invested in it together, body and soul.  

Jennifer, Jupiter Moon 3 Corsets, Vendor

Dallas Burlesque Festival was an absolute blast.  Even as a vendor, I had a great time.  The energy was fantastic, people were really enjoying themselves, and the performers were top notch.  I am so glad it was a two night event, because with that many people in attendance, it would have had to run all day to cram them all in to a one day event!  I personally had my best night vending, twice over; I was a happy camper!  I also had a fashion show to kick off the evening, and I couldn’t have been happier.  I had eight great ladies modeling for me, and it went off without a hitch, especially for not having a single rehearsal!  It was a great little fashion show, and the crowd really seemed to enjoy it.  All in all, it was a fabulous show, I have only heard wonderful things, and I sincerely hope to do it again next year!

Lola Van Ella took time out of her busy schedule to discuss merkin malfunctions, St. Louis, spontaneity and the role of comedy in burlesque. Lola Van Ella will be performing in Dallas on Feb 27th. Performance info.

Interview: Divertida Divotchka; Photos: Joshua Rowan and Connie LaFlam

Q: You’re coming to Texas for the Amour show at the end of February. Will it be your first time performing in Texas? Do you have to make any modifications to your routines to perform here?
 
Yes! It will be my Texas debut and I’m so looking forward to performing in the Amour show.  And yes, it’s funny, because although I live in the “conservative” Midwest, there is a lot of freedom for performers. One of the acts that I am bringing to the Amour show is my Van Ella Frosting act which involves more nudity than maybe most acts. And I will be modifying it slightly for the Dallas audience. I wouldn’t want anyone to faint (or get anyone or myself in trouble). Ha!

Q: Your burlesque resume is rather impressive. You dance, sing, instruct burlesque and emcee (and I’m sure much more.) How and when did you get your start?

I have always performed in some capacity since childhood, and have been singing, acting, dancing and doing voice over work professionally for 8 years. At one point, about 6 years ago, a theater company in St. Louis asked me to sing and perform a reverse strip tease, which I did for the entire run of the production, and had no idea that it was burlesque!  It was one of those, “I was doing burlesque before I knew what it really was” kind of thing. 

Of course, I loved Gypsy, Busby Berkeley musicals, Marilyn Monroe, and show girls, but I didn’t realize that these things were all connected.  I knew I was an exhibitionist at heart, and shortly after that performance, I played the lead character in a comedic play that required me to do full frontal nudity. I discovered that I had absolutely no issue with that.  It was fun and plus, it was funny, which I enjoyed being. 

In 2005, I was singing in a cabaret when I found out that there was a burlesque show that had just started in St. Louis.  I went to check it out, and found a very small, unpolished, rough show, with no real lights, costumes or emcee. But it had a ton of potential.  I started a week later.  In the beginning there were only a few of us, including Greta Garter, Mariel ala Mode and Honey D’Lite, but it quickly grew.  The Alley Cat Revue was the only weekly burlesque show in St. Louis for over 4 years and it’s where I really had a chance to hone and polish my craft. Plus, I got to sing and dance and tease and strip for lots of people, every week. How great is that?
 
Q: Is burlesque your full time job?

Yes, and sometimes it’s my overtime job! When I’m not performing, I teach a weekly class and am constantly working on producing the next show.  I also travel frequently, to teach and perform, and get to run an amazing troupe of performers, The Bon-Bons. So yes, very full time! I love it and wouldn’t have it any other way.
 
Q: Watching your routines, it seems that you really understand the importance of comedy in burlesque. Please tell me about your philosophy on the use of humor in your acts.

I strongly and firmly believe in a strict regimen of laughter and wit within the realm of the burlesque arts. It’s of the utmost importance to find the humor in a show that you are doing. Comedy is a serious business, and therefore needs to be taken very seriously, as does burlesque. It’s a very serious business. I am funny because it is the only way to make burlesque legitimate and work in an applicable way. Of course, I am completely kidding.

Burlesque is supposed to be fun. Comedy is fun.  I like to think I’m fun. Even when I am performing a classic or sexy strip, I still like to find places for humor.  Burlesque as with all types of entertainment, needs to be just that- entertaining. I live to entertain and to be entertained. I can’t imagine life any other way.
 

Q: While doing my pre-interview research, I found a Youtube clip in which an audio malfunction almost ruined a routine for Gravity Plays Favorites, and as the emcee, they asked you to sing a song so they could finish. You sang “Whatever Lola Wants” A CAPELLA while they ended the act. I was so impressed by how calmly and confidently you responded. What was going through your head at the time?

Why, thank you! That is a great memory, actually, though I’m not even sure what went through my head at that moment.  Michelle and Katrina are such good friends and in that moment, I knew and they knew that they needed to finish.  The show must go on!  It just kind of happened organically.  It was really spontaneous and fantastic.  I really love that moment.  It’s one of my (and happy to say, their) favorites.
 
Q: Do you have any other stories of show/routine/costume malfunctions and how you handled them?

Oh plenty!  The most recent and notorious one is the “Lola loses her merkin” incident.  It was right before the New Orleans Burlesque Festival and I was performing my competition piece for the last time before leaving.  At the end of the act, when I was supposed to turn around and pose with my spatula, the back of my merkin fell off!  In a split second decision, I pulled it completely off, and turned around and used the spatula to cover the rest of my modesty. Immediately after, my dear friend, Michelle Mynx ran back stage and said “I don’t know if that was on purpose or not, but that has to be the way you perform it in New Orleans!” I knew she was right, even before she told me.  There have been so many others that there is this running joke about me and my technical difficulties.  I’ve actually had numerous fans and friends tell me that they love when things go wrong for me, because they think it’s so great to see how I’ll handle it. I guess I’m supposed to take it as a compliment!
 
Q: What suggestions can you offer for burlesque success?

Self awareness. The understanding of the importance of quality over quantity. The desire and need to constantly learn- Always.  Respect for those who came before you. Lots of perseverance and self motivation. And of course, lots of sparkle, smile and charm.

 
Q: How do you like to spend your time when you’re not working?

I love to travel.  Always.  I’m a total outdoors-y kind of girl, actually.  I love being outside. Walking, dancing, climbing things.  I also love animals.  I love to read. Daydreaming.  Music.  Spending time with loved ones.  And I absolutely love to cook. And eat. A lot. I adore food. 
 
Q: Please share 3 little known facts about yourself.

1. I am a fantastic cook.  Really.  I humbly admit that I’m very good at it.
2. I know the names, stories, and authors of dozens of children’s books, including “Where the Wild Things Are”. I know that book by heart. 
3. I can stand on my head for a disturbing amount of time.

Selling Out Show After Show is No Accident: Meet The Lollie Bombs

Story: Shoshana; Photos: Benn Britt and Through the Looking Glass

Year after year, audiences pack into the cozy Pocket Sandwich Theater, sip on sangria served in a pitcher, and enjoy their favorite late night revue- with everything from a crazed Zombie shooting character, to a pill poppin’ princess, and a gal dropping down from the ceiling performing a silks number, this evening is anything but “traditional” burlesque. Since forming in 2006, The Lollie Bombs and their Valentine’s Day show has become a Dallas tradition. In fact, the Lollies are so popular, that in a city known for its distaste for pre-show ticket sales, much preferring the walk-up route, they sell out almost every performance way in advance. So what is the secret to the Lollies success, we decided to try and find out.

Like most great creations, the zygote that later became The Lollie Bombs started out as a crazy idea in the head of woman. Miss Angi B Lovely had the idea of starting a burlesque troupe, and went to visit a theater owner who was looking for a reoccurring booking. She quickly rounded up four other dancing pals- Lily Lawless, Roxie Moxie, Kitty B, and Lady J. After performing 3 shows under the name “Burlesque Contempo”, the gals decided they were in need of a lot of assistance. “We weren’t really considering ourselves a ‘troupe’, at the time – really we were just putting on a burlesque show in a town where no one knew anything about burlesque and there was no ‘scene’ as of yet.”, explains Roxie Moxie, who relocated to Seattle in 2008.

Eric Hall went to one of the earliest shows, and agreed that the ladies had a lot of potential. Hall was hired as the group’s choreographer, and the show started to really come together. Along with the new skill set, the ladies decided they needed a new name. During a late night brainstorming session, Lawless popped out with “The Lollie Bombs” and it was a hit! The Lollie Bombs began performing in different venues around Dallas, and pounding the pavement with handmade flyers, until they had developed quite a following- but they still needed a permanent home. They found that home in the summer of 2007 in The Pocket Sandwich Theater, and the troupe had changed a bit. While Roxie Moxie, Angi B Lovely, and Lily Lawless remained, Kitty and Lady moved off to other cities; while Black Mariah, Miss Malicious, and Jai L Bait joined the troupe.

Pocket Sandwich audiences loved the Lollie Bombs late night performances, and the theater loved the new fans that the Lollies brought in with them. The Lollie Bombs began doing shows every other month at the theater, and achieved a consistency with audiences that many other troupes and producers haven’t been able to achieve. That consistency opened the doors to many media outlets, who simply weren’t interested in a fly by night production- either those newly starting out, or constantly switching venues with no regularity. Media brings in more fans, and fans bring in more media, creating a hefty audience base for the troupe, but media won’t keep fans coming back. What gives the ladies such a regular fan base of folks who come again and again? Part of that may be their high attention to production detail- putting on an entire theatrical spectacle. Another part is certainly the diversity of the show, and the constant revamping and growth in The Lollie repertoire. While members have come and gone, and new members have come on, The Lollie Bombs continue to thrive. The current Lollies are Angi B Lovely (left the troupe briefly to relocate to Houston, but returned to the group as soon as she returned to Dallas), Miss Malicious, Black Mariah, Jai L Bait (joined 2007, left for a brief spell, and returned in 2009), Trixi Toxic (joined 2008), Scarlette Switches (2009). For more on the troupe’s success, we decided to ask the ladies of The Lollie Bombs themselves.

Meet The Lollie Bombs:

Angi B Lovely
BIO: Angi B. Lovely began performing at a very young age as part of a dance group called the Konocti Klogging Kids. As a teenager Angi discovered Ball Room dance and worked as a dance instructor, competing at the professional level. She studied musical theater and pursued an acting career. Eventually, Angi’s interests turned to circus arts– fire spinning, aerial silks, and hula hoop.  As a founding member of the Lollie Bombs, Angi B. Lovely has been involved in Burlesque since 2006.  Her current repertoire is a mix of dance, theater and circus art. 

Q: In your opinion, what is the secret to the success of The Lollie Bombs?

The secret to The Lollie Bombs success is being able to adapt and change as time goes on, we are always looking forward and improving on the production value of our shows. Also, we are an extremely multifaceted group of girls and our repertoire is always expanding, you never know what to expect from a Lollie Bombs show. 

Q: What do audiences love most about you?
Audiences love me for my diverse skill set, especially hula hoops and aerial acrobatics.

Q: Who should be cast as you in the movie about your life?

Lucille Ball

Q: When did you know you should be a performer?

I knew I was meant to be a performer when I would bring my tutu to preschool and ask change into it during recess. 

Miss Malicious
Q: In your opinion, what is the secret to the success of The Lollie Bombs?

The secret to the Lollies success is diversity. You get it all for the price of 20 bucks- acrobatic work, snarky gals, butts, boobies, and fantastic choreography- Everything!

Q: What do audiences love most about you?

Audiences love me for my sarcasm and I think my butt; along with my thought provoking numbers and the overall destruction of everything. 

Q: When did you know you should be a performer?

I knew I was meant to be a performer when I was 6 years old and would act out every movie I saw. I was never shy; my step mother used to say I could have been easily abducted as a child because I would talk to ANYONE, especially if they had an animal with them.

I started acting in plays when I was 8 or 9, and dancing and doing gymnastics around the same time. I have always loved the stage. In junior high we would skip class by saying we had a big performance coming up, go to Drama, hang out with the teacher and build props all day. Somehow I still passed everything!

Q: What’s your pre-show ritual?

I rehearse a bit…eat some carbs so I don’t get hungry during a show…then get a beer…Stella or Blue Moon.

Black Mariah
Q: What is your pre-show ritual?

I listen to music by Brian Setzer Orchestra. I love his music and it puts me in the mood to perform. I also listen to the music I am performing to that evening on my IPod with my headphones. I close my eyes and visualize the routine from beginning to end and see it as if it is a goal I have already achieved. Physically rehearsing is just as important as mentally rehearsing.

Q: What is the secret to the Lollie Bombs success?

Diversity in every aspect of our performance.

Q: What do audiences love most about you?

Curves and comedy! I don’t take myself so seriously that I can’t laugh at myself. I’m not perfect; I think that makes me relatable to my audience.

Q: Who should be cast as you in the movie about your life?

Zooey Deschanel

Jai L’ Bait
BIO: A true old soul, Jai L’ Bait knows to much for her own good. Abandon at the age of two, she was brought up by the gypsies. At an early age, she had the knack to capture audience’s attention. She was trained to use her looks and talents to her advantage and soon, as a weapon. Shimmy and shaking her way on the stage, she caught the attention of the Lollie Bombs where she joined their burlesque group. A natural seducer, you older guys may want to watch your back! This young temptress is here for the music and mischief. Get ready for trouble…

Q: When did you know you should be a performer?

I knew I was meant to be a performer when I was a child and I begged my parents to take me to auditions to Corpus Christi to audition for the Selena movie. Then I threw a dramatic fit because they told me no and I was extremely frustrated because I was convinced I would get the part. I was about 9.

Q: What is the secret to The Lollies’ success?

There is no one like us. We truly are a unique group that brings something unheard of in the burlesque world.

Q: What do audiences love most about you?

Ha! The fact that I look like a 12 yr. old, my blasphemy, and according to the Lollies–my booty! 

Q: Who should be cast as you in the movie about your life?

Mila Kunis

Scarlette Switches

SCARLETTE SWITCHES is no stranger to burlesque and the art of the tease. She has been performing in risqué groups and as a solo artist for over 10 years. As a singer, model and burlesque artist, her style often combines influences of cabaret, vintage fetish and Hollywood glamour. She performed alongside Jamie Deadly, Angela Ryan, and Athena Fatale in “Burlesque on the Fringe.” She also performed as a guest artist with “Fluff Girl Burlesque.”  She joined the Lollie Bombs Burlesque in early 2009.

Q: What is the secret to The Lollies’ success?

Diversity and courage.

Q: What do audiences love most about you?

Audiences love me for my TNA and naughty songs.

Q: What is your pre-show ritual?

I have a ritual of taking about 3 hours to either have hair and make-up done for me or DIY.

Q: What is your favorite physical feature on yourself?

My eyes.

Trixi Toxic
While according to her MySpace profile, she loves Autumn, Resident Evil, Zombies, Barbies, and Vampires–she apparently does not like email or interviews.

Upcoming Shows:
The Lollie Bombs next performance is The Valentine’s Show on February 12 & 13 at The Pocket Sandwich Theater. Call 214.821.1860 for reservations.

Three Lollies: Miss Malicious, Black Mariah, and Scarlette Switches will be performing in the Amour Show- A Lust Filled Burlesque Comedy- on February 27th at the Lakewood Theater. Call 214.821.7469 for tickets.

Dallas’ own Melissa Meaow, model, chats about Dallas Burlesque Fest, glamazons, making her much anticipated burlesque debut, and being drunk off decadence.

Interview & Photographs: Shoshana of Through the Looking Glass Studio. MUA/H: LaDonna Hearne Accessories (hats, cuffs, and fascinators): Tara Tonini.

Q: Your portfolio is very diverse, how do you label yourself in the modeling world?  [Do you consider yourself a pin-up model, fetish model, fashion model?]

I am extremely versatile — a chameleon. Therefore, I cannot and do not limit myself to labels — everyone has a right to their own opinion of me and I most definitely think my work speaks for itself. I adore the avant-garde and pin-up is always so much fun to do!
 
Q: When and how did you begin modeling?

I have always loved modeling. As a young girl, I was reading Vogue, Elle, Bazaar. I immediately became obsessed with beauty and fashion. In high school, I started collecting magazines from overseas — a very expensive habit! Now everything is so accessible online, but nothing beats a glossy photo on the page of a fashion magazine. I guess this was my beginning — I was far too shy as a little girl to peruse modeling, so my mother put me in ballet.

In high school, my height (I’m 5′6″) kept me from getting any professional work. My big break was in 2004 — I assisted on photo shoots while working for Toni & Guy and a lot of times stood in for the model while the photographer tested lights, etc. I was dubbed “a natural” and “better than the girl we booked”. It turns out you don’t have to be a glamazon for print work! Also, social media sites like Model Mayhem have really helped me network and grow.
 
Q: What are your favorite shoots?  [Are they based on the fashion, the photographer, the concept?  Do you like a certain style more than others?]

Elaborate hair/makeup/wardrobe/set design shoots are always my favorite. I love a concept that brings multiple people together with so much creative juice flowing that everyone is drunk off the decadence — and then it’s all up to you, the model. I love the whole process!
 
Q:  How much collaboration do you do with the photographer from start to finish on a concept?

It all depends on who approaches whom. If a photographer emails me, I know they’ve looked through my portfolio and found I fit a concept they desire. This is not always the case vice versa! If I instigate, then I better have a concept they can use or an idea we can both agree on.
 
Q: You have a really long list of live modeling credits.  How does this compare with print modeling assignments?

I most definitely have more live modeling credits than print! A lot of print work goes through agencies and since I manage myself, the assignments fall off my radar. I hope to do more pin-up print work in the future. It’s always been a personal goal of mine to do a fashion spread as well.
 
Q: Speaking of live modeling, the first time I ever saw you was the inaugural Dallas Burlesque Fest.  Take us back to that event- Feb of last year.   What did you anticipate before the event, and how did that compare to the actual event?

Elisa throws awesome events and I was honored she asked for my help! Wrangling the models was fun — getting 10 models and 10 photographers on the same page at the same time, etc was crazy. I think i was the last one in hair/makeup and on stage because I was so busy — but wasn’t it grand? I did not expect a full house with a line around the building — the energy was absolutely incredible that night!
 
Q:  You are coordinating the pin-up model photo shoot aspect of Dallas Burlesque Fest once again this year.  What are your plans for this portion of the event?  What should the audience of potential shooters expect?

Yes — I’m doing it again this year! Already we’ve had some models and photographers contact us to participate. There will be a pin-up shoot, but we may do three different sets on stage instead of just one. There’s also talk of a lingerie fashion show. I don’t want to give too much away — just be sure to get there early so you don’t miss it!

 
Q: Okay, so a gal has determined that she’s very pretty.  But, being a great model requires so much more.  What else should this gal posses to be successful?

Being comfortable in your own skin is key. Self confidence goes a long way — but always be gracious — no matter how bad you think your makeup/hair/photographer are. Everyone knows everyone in this community and word of mouth means more than any photoshopped image in your portfolio. Grace, integrity and punctuality are how I’ve gotten this far.
 
Q: Let’s talk burlesque for a second.  You made your burlesque debut last month at Christmas in Candy Land at The Church.  How was that for you?

It was an unforgettable evening! Elisa was a wonderful choreographer and coach – I felt totally comfortable with the routine. A lot of my friends showed up to support me and the other performers were excited about my debut as well. Of course, I was super nervous, but once I stepped on stage, my nerves disappeared and I had so much fun! Needless to say, I cannot wait to to perform at the Crystal Palace show later this month – I am doing more of a traditional burlesque number you must not miss!

Q: Do you have formal dance training?

Yes! I have 20 years of ballet, tap and jazz under my belt – ballet being my most favorite. I’d love to pursue more ballroom, latin and swing in the future.

Q: You are a founding member of the 60’s go-go dancing troupe, The Lollie Dollies. Tell us about its inception and where to find your performances.? 

The Lollie Dollies are a 60’s throw-back go-go troupe of 5 lovely ladies that was founded in 2005. We throw dance parties under the name, The Lollipop Shoppe showcasing local bands/djs. We perform every other month, so keep your eyes peeled for flyers! You can also keep up with us at: myspace.com/lollipopdolls and facebook.com/pages/lolli-dollies.

Q: What are your New Year Resolutions for 2010?

More modeling, of course! My goal was 52 shoots last year (I accomplished 46) and I just had my solo burlesque debut at The Church’s Christmas in Candy Land Party! So more dancing too — I’ll be performing at the Crystal Palace Burlesque show as well as the Dallas Burlesque Festival. And I’d love to travel to Austin, Los Angeles and New York to shoot/perform. Finally, I want to get my website up and running — it has been almost five years in the making!

Brooklyn, New York’s Paigey Pumphrey, pin-up and comic book artist extraordinaire sits down to talk Ed Emberley, superheroines, Mary Jane, curvy gals, and sausage fests.

Interview: Shoshana. Illustrations: Paigey. Photograph of artist: Atomic Cheesecake Studios

Q: In your blog, you credit Ed Emberley with teaching you to draw. How serious are you about this claim, or is it more tongue and cheek?

Oh I was indeed serious! Ed Emberley provided me with the foundation for which all my drawing skills have been based on. He taught me at an early age to break down something visually into simple objects to better process them from eye to hand to paper. Without him providing such early guidance I probably would have had a lot of trouble later on with learning basic anatomy and composition. I’m still a hardcore Emberley fan to this day. One of my next tattoos I’m planning to get is the werewolf from his Big Drawing Book of Weirdos. There’s even a documentary currently being filmed about his Make a World book. If there’s a child in your life who has an interest in drawing I highly suggest picking up a book or two of his, they go for pretty cheap and you never know- they might be an investment in that kid’s future.
 
Q: When did your love of comics begin?

I started out originally wanting to be a Disney animator til about sixth grade when I discovered my brother’s issue of Uncanny X-Men #236. That’s the one from the ‘80s where it opens up with Wolverine and Rogue fighting in Genosha against tons of armed guards — completely naked. Then I had no idea what I was reading, it was a terrible jumping-on point. But it was so exciting and sexy and dramatic and it was like a big budget movie being played out right in my hands. That issue inspired me to delve further into comics, starting with my brother’s stash of X-Men and Conan the Barbarians laying around the house and eventually I started buying and drawing my own comics from 7th grade on. 
 
Q: What have been some of your favorite illustration collaborations to date?

At the risk of sounding corny, I’d have to say my boyfriend, Phil Balsman, aka Ballsy is one of my favorite collaborators. Not only is he a great illustrator, but he also does about 95% of my lettering, typography and title treatments for my pieces. We both attended the Joe Kubert School of Cartoon and Graphic Arts back in 99-01, though back then we were just friends.

A former letterer for DC Comics and now an Art Director/Designer for Del Rey manga, he creates the perfect marriage of type to my pictures. We started working together about a year into going out on a series of old EC-style comic covers that were used in group art shows. I’ll create a ‘cover illustration’ based on that criteria, then Ballsy will come in and do the title block and any word balloons or sound effects. There’s few people if any I have that complete of a trust with regarding my artwork, he is definitely one of them. 
 
Q: How does your love of comics translate to pin-ups?

 I’ve always had a fascination with drawing pretty girls. My definition of ‘pretty girls’ however has changed throughout the years, it’s evolved from generic spandex-clad superheroine to straight up heroin chic through my teens and twenties to the plumper, softer, bubblier girls I draw now. I think it has to do with what artists look to for inspiration.

When I was drawing nothing but superheroes, that was because that was all I was reading and for the most part the only artwork I was exposed to that caught my interest. This was also during the big 90’s comic book boom when everyone was drawing more ‘extreme’ than the next guy and female points of view in the comic realm were so much harder to find. Then I drew these super-skinny, miserable-looking heroin chic girls in the late 90’s, when I started getting my influences from fashion and club culture, especially raves, gothic industrial clubs and Gregg Araki movies.

 I think it’s always been that I draw the kind of girl I’d want to live vicariously through. Now it’s these perpetually giddy girls with hips and thighs and tummies and smiles that are dancing and eating bon bons and having a great old time. The stuff I do now seems to make people happy. When I see people flip through my art book or portfolio they’re always smiling, and I like seeing that. 

Q: You now have a resin figurine Miss Mary Jane, obviously inspired by a love for pot and pin-up, available via pre-order through Patch Together. This super cute figure even wears a plastic baggy inspired hoodie! Explain the process from sketchbook to completed toy available for purchase.

Miss Mary Jane started out in 2007 as a little doodle I sketched out during lunch at my day job shortly after I moved to New York. I used to smoke ALOT, about 3-4 years ago and had kicked the idea around in my head for awhile. And it just came out one day, and I took it to finishes and it became one of the more popular pieces in my portfolio. A girl back in Maryland even got her tattooed on her arm.

It’s always a bit of a ‘test’ with those who see it, as it’s about a 60-40 split between those who think she’s a broccoli girl/ the Jolly Green Giant’s wife and those who realize she’s a girl made out of weed. It’s kind of like my little test to see who’s a stoner. Though as soon as anyone realized she’s a weed girl everything starts falling into place- the green tint to her skin, the hair texture, the plastic baggy hoodie with the multicolored seal/zipper.

I entered her into Patch Together’s ongoing design contest primarily for shits and giggles. I’m a big fan of Miss Monster and have both her Foo Dog and Tentatiger toys, and thought I’d give a shot submitting and thought nothing of it. I was accepted and started getting votes and after it was approved for preorder I was all ‘Oh crap- this is real now.’

Seeing my artwork interpreted as a 3D sculpture and ultimately having my own toy out on the market is so surreal and awesome at the same time, and this is definitely not the last collaboration I plan on doing with Patch Together. The journey of making Miss Mary Jane into a toy has been a tremendous learning experience. The sculptor I worked with- Miller, has done an amazing job and had nothing less than the utmost patience with my 8 million revisions going back and forth. Kudos and high fives all around! 

Q: Roller derby, pin-up, and burlesque seem to be reoccurring themes in your comic book characters. All three have experienced cult revivals over the past five years. What is it about these particular muses that have you so captivated?

I think that all three are so inspiring to me. Roller derby because I love the names and personas those involved all have. I insist on calling those involved by their derby names, mostly because they’re easier to remember, but also cuz it’s so damn cool. It’s like knowing a superhero. 

It’s also a great jumping-off place as an artist to get recognized locally for your talents. My first derby experience was the inaugural bout Charm City Roller Girls in Baltimore and was inspired. I started emailing them, offering my artistic services and would show up to practices for impromptu life drawing. I started doing portraits of all the first season lineups, which got me some recognition in the Baltimore art scene and the beginnings of my portrait commission business. I owe a lot to them for helping me launch my artistic career.

Pin-up was a natural transition from my time going to comic book and anime conventions as a fan and taking part in ‘cosplay’, where I and several other girls I knew would dress up in homemade costumes of different characters and run around the con floor getting our pictures taken. I was actually getting pictures taken of myself in pinup style before it dawned on me to draw like that as well. Once I started drawing my girls cuter and bubblier people really started taking notice, and my work was progressively more well-received.

It was then I found my artistic niche and I’ve been running with it ever since. With burlesque, I was only recently introduced to this amazing subculture a little over a year ago, shortly after I moved to New York City. I barely knew anything about it until I moved here, let alone that there was a whole revival. I think my first real exposure to it was through Dr Sketchy’s Anti Art School, which is a life-drawing session in a bar with a burlesque performer as a model. I was blown away, I started going to shows, making friends with performers.  

Now I can’t get enough! I love it, it’s so appealing to me on so many levels. I’ve even taken a few classes at NY School of Burlesque. If I had more time between drawing and my day job I’d be up on stage myself. 
 
Q: You spend a lot of time on the comic book circuit. Is it still a male dominated scene, or are female artists more prevalent now?

It’s getting better, but there’s still a pretty strong ’sausage party’ vibe, which can work both for and against you when you’re female. If you play your cards right you can definitely get a little extra attention from passerby in the Artist Alleys section of the con, where the up-and-comers usually hang out and hock their wares. I always dress up for conventions, so I can work as basically my own ‘booth babe’.

Instead of the fans talking to a paid representative of said company/artist, they actually get to talk to the artist herself, being me. Plus with my 6+ years of retail experience I feel I get the best response from customers and hopeful future fans when I’m standing at their level, making eye contact and greeting them as they enter my ’store’, aka the front of my booth.

There’s so many times going to comic cons as a fan that I’ve found myself in Artist Alley and have a whole ‘Don’t look in their eyes!’ moment. I hate when artists are pushy pitchmen over their work. I’ve left Artist Alley way too many times as a fan with books and ashcans and such I didn’t even want in the first place, but was guilted into buying or taking, and I end up throwing them away only days later.

As an artist, I try to just be friendly and personable, and barely even mention my work, even though it’s displayed all around my table. I let my work speak for itself, and I only talk about it to folks that seem interested. As it should be, I’d much rather 20 people take my card of their own free will with them back to their house than see 100 cards I’ve pushed on people ending up on the floor or trash can.
 
Q: What does the future hold for Paigey?

In the next year I’m hoping to hit at least 5 east coast comic conventions between Baltimore and New York. The plan is to do as many cons as I can on the east coast that I don’t need a hotel room or crazy travel expenses for. And since I live in Brooklyn and my folks live in Baltimore I’ve got a nice centralized area to work within the con circuit.

Hopefully, all that will be able to pay for me to head out to the BIG one, San Diego Comiccon, in 2011. I recently joined up with an art collective called Girls Drawin’ Girls, a group of 40+ all-female pin-up and girlie artists, primarily based out of southern California. Through them, I’ve been able to get some much-needed west coast exposure and they have a table at SDCC every year that I’ll work at when I go.
I also plan on doing more toys through Patch Together, including an original roller girl character I created and hopefully I’ll have enough material to release a new artbook by the end of 2010.
 
-Paigey! xoxo

“Comics, Commissions and Camaraderie!”

You can view more of Paigey’s work at www.theartofpaigey.blogspot.com

Have a little extra time on your hands during the cold winter months spent inside? Check out our list of Pin Curl Magazine’s Top Five Vintage Movie Picks for Winter.

Burlesque Undressed­­
2010. Produced by and Starring Immodesty Blaize

The mighty Immodesty Blaize has done it again in her documentary of The Tease Show which was a smashing success in Europe. One of the most famous modern burlesque performers Miss Blaize is featured throughout the film, as well as performances and interviews with the biggest names in modern burlesque including: Perle Noire, Kalani Kokonuts, Dirty Martini, Michelle L’Amour, Catherine D’Lish, and Kitten D’Ville.

Burlesque Undressed chronicles the history of burlesque from its European roots to its American Revival. Also included in the film are interviews with burlesque legends Dixie Evans, Satan’s Angel, Lily Ann Rose, and The First Lady of Burlesque April March.
Burlesque Undressed is now in theaters in Europe, and will be available on DVD there in February. Which begs the question — but what about the American fans? Glad you asked! Dallas will be home to the U.S. film premier! We are proud to announce the U.S. film debut of Burlesque Undressed, as well as live burlesque performances by some of the top stars in the film including Immodesty Blaize will take place in Dallas in March and is presented by none other than Pin Curl Magazine!

Watching all the talent, glitz, and feathers is a high definition spectacle not to be missed (not to mention Immodesty Blaize’s first ever performance in Texas!)

I’m No Angel
1933. Starring Mae West and Cary Grant

Nominated for Best Picture in its day, I’m No Angel may be the legendary Mae West’s best film ever. The story of famous glamorous shimming side show performer turned lion tamer, this is a brilliant woman chasing her dream story. Curveballs are thrown at her when she falls in love with a man, only to have her ex interfere, but she wants it all — and she gets it.

Some Like It Hot
1959. Starring Marilyn Monroe, Tony Curtis, and Jack Lemmon

This Oscar-winning film, finds two struggling musicians running from the mob. In order to avoid being killed, they dress in drag and join an all girl band, but things get complicated when one of the musicians falls for a female band mate. This comedic thriller is sure to become a favorite!

The Notorious Bettie Page
2006. Starring Gretchen Mol

While Bettie fans give this film mixed reviews, it did earn two SAG nominations and is well worth a watch. This film focuses on a side of Bettie few knew, the innocent, naïve country gals that she was. Chronicling her life from her very first shoot to her legal battle, which all but forcefully removed her from modeling, this film strives to give an accurate pictorial of the Notorious Bettie Page.

**There is also a new Bettie Page documentary in the works. This one claims to be an authorized biography, made with Bettie’s full cooperation. For more info and projected release dates, visit the official site Bettie Page Reveals All.**

A Wink and a Smile
2009. Produced by and Starring Indigo Blue

This film documents the lives of ten ordinary women, as they enroll in and complete Miss Indigo Blue’s Burlesque training course. With performances, clips, and interviews from almost all of the heavy hitters in Seattle’s current burlesque scene, this is a show every fan of neo-burlesque should see.